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encapsulates the novel’s ambivalent construction of her femininity (Thackeray,
1848/2003, p. 617). As Peters (1987) argues, this imagery positions Becky within a long
tradition of the femme fatale, yet Thackeray’s treatment is more complex than simple
condemnation.
Irony functions as a structural principle, not merely a local rhetorical effect, in
Vanity Fair. Thackeray’s subtitle “A Novel Without a Hero” (Thackeray, 1848/2003, p. 1)
signals an ironic stance toward Victorian novel conventions. As Harden (1979) argues,
the novel’s pervasive irony is directed not only at its characters but at the society that
produces them. Becky’s career enacts the central satirical thesis: that the virtues
Victorian society celebrates—domestic piety, feminine submission, moral purity—are
performances available only to those who can afford them. As Pearce (1994) observes,
Thackeray’s double movement indicts both society and the individual who seeks to
exploit it. Irony in Jane Eyre, by contrast, is a property of the heroine’s own
consciousness rather than the narrative apparatus. As Gezari (1992) argues, Jane’s
local deployment of irony against figures of gender authority represents a form of
linguistic subversion that coexists with the novel’s otherwise earnest moral
framework.
Narrative Voice and the Politics of Female Self-Expression
The narrative voice—its distance from, proximity to, and moral relationship with
the heroine—is perhaps the most encompassing stylistic choice in each novel. In
Jane Eyre, narrator and protagonist are identical: Jane tells her own story in
retrospect, giving the reader direct, unmediated access to her consciousness
throughout. Heilman (1958) argues that this identity of narrator and protagonist
produces a novel of unusual psychological depth but also unusual ideological
commitment: Jane’s narration is always also a moral argument, and the reader
cannot access any perspective on events that Jane has not authorized.
In Vanity Fair, the narrator is emphatically not Becky. Thackeray’s narrator is a
knowing, socially embedded figure whose relationship to Becky is a complex mixture
of admiration, condemnation, and identification—an identification Thackeray
himself acknowledged in his correspondence (Ray, 1955). This dynamic produces a
novel in which Becky is simultaneously the most vivid presence and the most
consistently objectified: her interiority is available only when the narrator chooses to
grant access, and that access is always mediated by satirical irony. As Armstrong
(1987) argues, the question of who gets to narrate is one of the central political
questions of the Victorian novel, and the contrast between Jane Eyre and Vanity Fair
crystallizes that question with unusual sharpness.

CONCLUSION
The linguistic and stylistic analysis presented in this article demonstrates that
the contrasting characterizations of Jane Eyre and Becky Sharp are encoded at the
deepest levels of literary form. Jane’s figurative speech—characterized by elemental
metaphor, rhetorical antithesis, and the mapping of inner moral states onto natural
imagery—constitutes a form of linguistic self-constitution: Jane speaks herself into
existence as a moral and spiritual subject in defiance of social categories. Becky
Sharp’s figurative language, by contrast, operates through irony, strategic flattery,
and the double-voiced deployment of social convention, simultaneously performing
compliance with Victorian feminine norms and subverting them from within. 436

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